Petra Ddl Ita

Singer Petra Haden excels in this beautiful and unique program of songs penned by the songwriting team of John Zorn and Jesse Harris. Friends for many years, they began working together on The Song Project in 2012, and eight years later this LP presents the full fruits of their collaboration: thirteen Zorn compositions with original lyrics by Jesse Harris. The melodies are catchy, the lyrics heartfelt, the grooves deep and the solos profound and exhilarating. Backed by the amazing Julian Lage, Jorge Roeder and Kenny Wollesen and produced by Jesse Harris, this is a LP that you will listen to again and again.

Comprised of vocalist Petra Magoni and bassist Ferruccio Spinetti, Musica Nuda are an Italian vocal jazz-pop duo whose popularity carried over to neighboring countries, especially France, during the mid-2000s. Born in Pisa, Tuscany, on July 28, 1972, Magoni studied music at the Conservatory of Leghorn and at the Pontifical Institute of Sacred Music in Milan. A versatile singer, she performed opera at the Teatro Verdi in Pisa early in her career while at the same time fronting a local rock group, Senza Freni. Petra Magoni (1996) marked her full-length solo album debut and was followed by a second solo album, Mulini a Vento (1997). She subsequently adopted the moniker Sweet Anima and released an eponymous album of English-language songs written by Lucio Battisti in 2000. In addition, she collaborated with Giampaolo Antoni in the electro-pop duo Aromatic, which resulted in the album Still Alive (2004). Most successful among her recording ventures, however, was Musica Nuda, a vocal jazz-pop collaboration with Piccola Orchestra Avion Travel bassist Ferruccio Spinetti that made its critically acclaimed eponymous album debut in 2004.

Petra is one of the most successful Christian rock bands ever, a veritable institution whose name (taken from the Greek word for "rock") has come to reflect not only their music, but their staying power as well, even in spite of Christian radio's reluctance to program their brand of loud, slick arena rock.
Opening with a blues-inflected "Get Back to the Bible," the original eponymous Petra album hearkens more to Southern rock bands like Lynyrd Skynyrd than to the arena-type groups that they became more associated with, both in vocal style and in musical texture…

Petra is one of the most successful Christian rock bands ever, a veritable institution whose name (taken from the Greek word for "rock") has come to reflect not only their music, but their staying power as well, even in spite of Christian radio's reluctance to program their brand of loud, slick arena rock.
"Washes Whiter Than" (1979) is the earlier of this two albums and it shows. There are glimpses of the changes to come. The album varies from ballads to funk to jazz and rock with the gospel message. "Never Say Die" (1981) is the start of the "classic" era of Petra with their more straight ahead rock. From the opening crooner "The Coloring Song" we move into some classic Petra rock with "Chameleon". The album could be described as easy listening rock and finishes with the worship anthem "Praise Ye The Lord".

Petra is one of the most successful Christian rock bands ever, a veritable institution whose name (taken from the Greek word for "rock") has come to reflect not only their music, but their staying power as well, even in spite of Christian radio's reluctance to program their brand of loud, slick arena rock. Petra was formed in 1972 by guitarist Bob Hartman, who was attending the Christian Training Center in Fort Wayne, IN at the time; he recruited several fellow students - guitarist/vocalist Greg Hough, bassist John DeGroff, and drummer Bill Glover - to his cause, and the group began playing around the Fort Wayne area with backing from their school…

Described as having ‘natural genius’, John Abraham Fisher (1744–1806) was a significant figure in London during the second half of the 18th century. A virtuoso violinist, he also wrote admired stage works for the Theatre Royal, Covent Garden. His orchestral works are largely forgotten today, but his symphonies display a surprising awareness of contemporary continental trends in their use of dynamic variations, revealing the influence of the Mannheim School. Possessing a richness of colour, contrast and surprise, these symphonies typify Fisher’s expanding Classical style.